Is the Mother of Alexander the Great in the Tomb at Amphipolis? Part 6: The Mutilation of the Sculpture
Amphipolis6By Andrew Chugg*
I wrote my initial article on this question on the morning of 6th September, a day before the announcement of the discovery of the caryatids, and I wrote a second part on 20th September and a third part on 28th September dealing with the caryatids.
The discovery of the mosaic announced on 12th October prompted fourth article on 13th October, in which I predicted that the part-excavated mosaic depicted the Abduction of Persephone with the god Hermes running ahead of the chariot and Hades (a.k.a. Pluto), god of the Underworld, driving the chariot. In a fifth article on 18th October I suggested that Persephone should be a portrait of the occupant of the tomb and therefore the occupant should be a woman. Of the two queens that are candidates, Olympias is far more likely to have had red hair. I also showed that the Hades figure could be a portrait of Philip II and the Hermes figure a portrait of Alexander the Great at his age when his father died. Now there is new evidence from the discovery of large fragments of the tomb doors and the head of the right-hand sphinx from the entrance, announced on 21st October.
But in order to set the occupant’s identification in context, here is a summary of the inferences I drew from the evidence available in my first five articles:
1) Sphinxes decorated the thrones found in the tombs of two mid to late 4th century BC queens of Macedon, one of whom was Alexander’s grandmother Eurydice I
2) Greek mythology recognised Hera the wife of Zeus as the mistress of the sphinx: the 4th century BC Macedonian kings identified themselves with Zeus, so it would make sense for their principal queens to have identified themselves with Hera
3) The female sphinxes at Amphipolis, Greece , have their closest parallel in a pair of female sphinxes found by Mariette at the Serapeum at Saqqara, which were dated to the reign of the first Ptolemy by Lauer & Picard, mainly on the basis of an associated inscription: the Serapeum at Saqqara is also a strong candidate for the site of the first tomb of Alexander the Great
4) There are strong parallels between the façades of the tombs of Philip II and Alexander IV at Aegae and the reconstructed façade of the lion monument that stood atop the mound at Amphipolis
5) The paving in the tomb at Amphipolis closely matches paving in the 4th century BC palace at Aegae
6) The 8-petal double rosettes in the Amphipolis tomb have an excellent match on the edge bands of the gold larnax of Philip II
7) The evidence therefore favours an important queen being entombed at Amphipolis: Olympias, Alexander’s mother, and Roxane, Alexander’s wife may both have died at Amphipolis and are the only prominent queens that
accord with the archaeologists’ firm dating of the Amphipolis tomb to the last quarter of the 4th century BC
8. On the assumption that the occupant of the Amphipolis tomb is Olympias, a straightforward explanation of the caryatids would be that they are Klodones, the priestesses of Dionysus with whom Plutarch, Alexander 2 states that Olympias consorted: the baskets worn on their heads would be those in which Plutarch says the Klodones kept snakes.
9) Plutarch, Alexander 2 tells the story of Philip having dreamt that he sealed Olympias’s womb whilst she was pregnant with Alexander with the device of a lion. This provides an explanation for the tomb having been surmounted by a lion monument.
10. The mosaic from the floor of the second chamber depicts the Abduction of Persephone by Hades, led by Hermes. However, it is reasonable to suspect that Persephone is a portrait of the occupant, in which case she is a Queen. The reddish hair colour fits Olympias much better than Roxane.
The Hades figure would work as a portrait of Philip II and Hermes may be a portrait of Alexander aged twenty, because he could not be depicted any older in the company of his father.
On 21st October 2014 the Greek Ministry of Culture issued a press release announcing the discovery of the missing head of the eastern sphinx that sits on the right-hand side of the lintel above the entrance to the tomb. The sphinx’s head has a terrible beauty, considering that she was a mythological creature that tore her victims to pieces (Figure 1). The rarity of such original 4th century BC sculptures of this superb quality needs to be emphasised: nearly every example we are used to seeing of a similar nature is a Roman copy. Some are even whispering the name of Alexander’s court sculptor, Lysippus.
However, this new discovery also provides important new information on the way that the Amphipolis LionTomb may fit in with other royal Macedonian tombs in the period immediately after Alexander’s death. In particular, the pair of Amphipolis sphinxes can now be recognised to have the same hairstyle as the pair of generally very similar Greek sphinxes found in 1850-1851 at the Serapeum at Saqqara in Egypt (Figure 2). I wrote in 2012 that the Serapeum sphinxes were probably part of the decoration of the first tomb of Alexander the Great. The close similarity with the sphinxes at a tomb that may belong to Alexander’s mother enhances the evidence that the Serapeum was indeed the site of Alexander’s first tomb in Egypt, before his remains were moved to Alexandria in about 280BC. It improves the chances that the Serapeum sphinxes were indeed a part of its sculptural decoration. The speculation would be that it also indicates some tangible link between the two tombs. Did somebody view the sphinxes at Olympias’s tomb shortly after 316BC and decide that similar sphinxes would serve as a suitable decoration for the tomb of her son at the Serapeum? Or might it even be possible that Olympias herself commissioned sculptures of a pair of sphinxes to guard her son’s tomb at the Serapeum on her behalf soon after it was set up in 321BC?
One problem with the new head is currently obsessing the “Twittersphere”. Naturally enough, photoshop reconstructions of the new head restored to its body have quickly been produced (Figure 3). It is immediately obvious that there is potential difficulty in fitting the head into the available space beneath the arch. This has led to wild speculation that the arch was not built when the sphinx’s head was knocked off and that somebody subsequently built the arch to house already decapitated sphinxes. As we shall see that is very unlikely, not least because the rest of the evidence is starting to suggest that the tomb was sealed up at the same time as the sphinxes were beheaded. However, there is a more credible answer to the conundrum. Two thousand three hundred years have passed since the sphinxes’ heads were in place. Arches are not immune to some degree of movement on such timescales, especially when they have been subjected to known stresses. In this case the arch has long supported a huge overburden of soil and has been subjected to at least one historical earthquake. There are indeed signs of subsidence in the form of large cracks and slight misalignments of some blocks. The mason puts the same taper onto all the blocks in an arch of this form, which leads inexorably to a precisely semicircular form. However, the arch above the sphinxes is around 10% flatter than a true semicircle: its vertical radius is about 10% shorter than its horizontal radius (Figure 4). This is probably attributable to subsidence and/or earthquakes. So we can reasonably conclude that there was plenty of room for the heads and wings of the sphinxes when it was originally built.
http://greece.greekreporter.com/2014/10 ... sculpture/